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Gavin Dixon
Fanfare, November 2013

WAGNER, R.: Meistersinger von Nurnberg (Die) (Glyndebourne, 2011) (NTSC) OA1085D
WAGNER, R.: Meistersinger von Nurnberg (Die) (Glyndebourne, 2011) (Blu-ray, HD) OABD7108D

The DVD of Die Miestersinger from Glyndebourne has proved that traditional stagings of this opera need not be drab or dull. David McVicar’s production, and Vladimir Jurowski’s musical direction, both turn the limited scale of the venue to the work’s advantage, increasing its intimacy without reducing its impact. The young cast is able to present the entangled love interests more credibly than the older singers more often cast, and Anna Gabler is a particular treat as Eva (she’s since reprised the role at Salzburg). © 2013 Fanfare

Jerome Sehulster
Stamford Advocate, July 2013

David McVicar’s update of Wagner’s “Die Meistersinger von Nurnberg”…to the 19th century is a hit. McVicar creates a stage full of colorful characters, particularly a young, yet thoughtful Hans Sachs, intelligently portrayed by Gerald Finley. With him in this Glyndebourne production are Anna Gabler as a charming Eva and Johannes Martin Kränzle as…Beckmesser. Vicki Mortimer’s warm sets and costumes are pleasing. © 2013 Stamford Advocate Read complete review

Janos Gardonyi
The WholeNote, March 2013

Canadian baritone Gerald Finley is an inspired choice for Hans Sachs…Finley proves to be wonderful in this complex and difficult role.

The distinguished cast is well chosen, look the part, act and sing gloriously. Add to all this the London Philharmonic in the orchestra pit and a young conductor, Vladimir Jurowsky, who controls Wagner’s multi-layered polyphonic, contrapuntal score like a Karajan reborn. © The WholeNote Read complete review

Andrew Quint
Fanfare, March 2013

WAGNER, R.: Meistersinger von Nurnberg (Die) (Glyndebourne, 2011) (NTSC) OA1085D OA1085D
WAGNER, R.: Meistersinger von Nurnberg (Die) (Glyndebourne, 2011) (Blu-ray, HD) OABD7108D

This David McVicar-directed Meistersinger represents Glyndebourne’s second Wagner staging, and it’s something special.

The Finnish tenor Topi Lehtipuu handles the part of David very effectively…Anna Gabler is a complex and passionate Eva…Michaela Selinger, the Magdalena, is perky and vocally appealing.

…Gerald Finley is a superb one. He happens to be the best singer here, but his acting is what makes this production so compelling.

The production is sumptuously lit and filmed…The sound is richly detailed with excellent vocal/orchestral balances. © 2013 Fanfare Read complete review

Mike Ashman
Gramophone, December 2012

To mount Meistersinger at Glyndebourne, even in its new theatre, is both a significant step further than Tristan and an achievement in itself…Jurowski handles the score with seriousness and pomp and is sensitive to dynamics both within the pit itself and in relationship with the numbers and individual singers on stage.

From his first asides at the Masters’ meeting in church, it’s clear that Gerald Finley has the role of Hans Sachs massively in focus, both musically and dramatically. He is compulsively watchable throughout…Finley can really sing the role too.

Also on this high level is the work of his fellow Masters, as goodly a clutch of mainly British stage and vocal talent as you’ll find anywhere. Gabler is an effective Eva…

The production plays in the 19th century at the time of the work’s composition. DVD sound and vision are more than adequate…Finley’s work has to be seen and heard. © 2012 Gramophone Read complete review on Gramophone

Michael Scott Rohan
BBC Music Magazine, December 2012

WAGNER, R.: Meistersinger von Nurnberg (Die) (Glyndebourne, 2011) (NTSC) OA1085D
WAGNER, R.: Meistersinger von Nurnberg (Die) (Glyndebourne, 2011) (Blu-ray, HD) OABD7108D

David McVicar reminds us that this is an opera about youth and self-discovery © 2012 BBC Music Magazine

Simon Thompson
MusicWeb International, November 2012

The singer that attracted most of the attention in the original staging was Gerald Finley, whose Sachs is both a revelation and a triumph. His is a younger portrayal of the role than you might expect to see - no grizzled old veteran, more a man just into middle age - but this, if anything, underlines the poignant aspects of his existence. Finley himself sings the role with gloriously lyrical tone, as mellifluous and beautiful as assumption of the part as any you will find on disc. The Fliedermonolog of Act 2 is a particular highlight, glowing with nocturnal warmth as his voice gently caresses the orchestral line, and he shows no hint of tiredness as the opera progresses so that his delivery of the final oration on Holy German Art is every bit as beautiful as his singing from hours before….he has the intelligence of José van Dam and Bernd Weikl and he could sing any of them off the stage for the sheer beauty of tone that he produces.

Wonderful as Finley is, he is only one in a great ensemble. Topi Lehtipuu’s David oozes character and style, both impish and sympathetic, and conveying glorious tone together with humanity and humour. Alastair Miles’ Pogner conveys authority and paternal warmth at the same time: his Act 1 “address” is wonderful, especially the way he lingers on the climatic “Eva, mein einzig Kind”. Johannes Martin Kränzle’s Beckmesser is a triumph. He acts the role with just the right amount of caricature, injecting humour without being crude, and his treatment at the end of the pageant contains genuinely moving pathos. More importantly, his singing is a wonderful combination of the lyrical and the smarmy, and he is as close as I have seen to the ideal for this character. Michaela Selinger is a wonderful Madgalene and Anna Gabler’s Eva is bright…

Jurowski conducts the score with certainty and skill, and the LPO respond with playing that is warm and utterly dedicated. Both are helped by the intimate acoustic of the theatre which brings everything close to the ear, meaning that there is never any need to force or insist on a phrase. Instead everything unfolds with unhurried purpose and an element of clarity, even transparency, that you seldom associate with this work.

…there are so many aspects of this DVD that are so delightful, that it seems churlish to give it anything other than a warm and hearty recommendation…this one is so good that it will always be much more than a consolation prize. © 2012 MusicWeb International Read complete review

Bill Naddle
Parterre Box, November 2012

…David McVicar has applied his considerable skills in this 2011 Glyndebourne production of Die Meistersinger, the result being a refreshing new take on a familiar warhorse.

Special commendation must be given to lighting designer Paule Constable who bathes the stage in warm autumnal tones, especially effective in Sach’s workroom scenes.

Glyndebourne’s casting tends to be youthful and attractive throughout…Gerald Finley is superb as Hans Sach, a real thinking man’s singer with a melliflous bass baritone, Dietrich Fischer-Dieskau spliced with a velvety Mario Sereni.

He plays Sachs as a still youthful broad-shouldered vigorous man who looks like he could handle rough shoe leather all day yet still has the intellectual heft to be a great song crafstman as well…Overall, a highly moving performance, he is the compleat singing actor.

Next up for vocal honors is Finnish tenor Topi Lehtipuu as David who has real stage presence, a bit of a scene stealer…he is totally convincing as a boy apprentice David. Johannes Martin Kranzle is a highly effective Beckmesser, eschewing a cartoonish version of the role in favor of a sly caricature, with plenty of voice as well.

Michaela Selinger as Magdalene and Alistair Miles as Pogner fill out the cast nicely.

Conductor Vladimir Jurowski leads an excellent London Philharmonic and the Glydenbourne Chorus is in fine fettle. Overall, the production is excellently paced and one tends to forget it’s actually an almost five hour event. © 2012 Parterre Box Read complete review

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